“Seth material” search engine (Jane Roberts)

He protected himself against early marriage or child bearing by identifying the male writer to some extent with his own writing image. [...] The novelist, the science fiction writer—these were male images needed in the time of his youth.

[...] The intuitions are regarded in your society as female—and as a writer he felt he had to guard against female impulses or characteristics —against being too frivolous or emotional.

[...] Ruburt tried in the family to express independence, to show that he was (underlined) a writer, and at the same time he tried to express dependence, to show that he was a good wife, and this applied to many social relationships as well. If he succeeded as a writer, it seemed he was less the loyal wife, and sometimes in the past—the distant past—you felt the same when you tried to be “the male provider,” and take a job to satisfy that narrow role. [...]

[...] To appear as a good wife Ruburt had to appear less a thinker, less a writer, so that you each followed double standards for yourselves, each trying to appear to express completely different characteristics. [...]

[...] That meant “You are highly gifted as a writer.” [...]

Now, you take a person gifted as a writer and constantly apply the suggestion that to the contrary the person cannot write. [...]

[...] Ruburt is walking—as poorly as our hypothetical writer is writing. [...]

(At this conference Jane, A.J. and three other science fiction writers formed a group they called “The Five.” [...]

script..................writer

type...................writer

[...] It called itself the writer, if it had any name. The writer protected Ruburt against frightening experiences. [...]

[...] But the science fiction writers he met, and the field itself, he soon found as highly limiting.

[...] You (pointing to me) do not believe that nature is hostile, nor does Ruburt, but you both accept the concept that there are hostile elements against which you must protect yourselves, and that the artist or writer, or any sensitive wise person is at a great disadvantage against a system in which he is born, and that he is to some extent at its mercy.

[...] Ruburt was also tinged by those concepts, so if he had to make a choice, he chose the writer’s cramp.

[...] Ruburt became a writer because he thought of being a writer constantly. [...]

Because of his cultural beliefs, he was also determined that his “womanly nature” would not impede his progress as a writer, or yours as an artist. [...]

[...] At the same time he is not that, of course, since he cannot completely carry out the woman’s role of housekeeping, and so forth—so in that (underlined) way, he also shows that he is a writer. [...]

[...] The sportsman, the writer or the artist — any of them would utilize that background differently, but well, and in such a way that it peculiarly suited each of them.

[...] His ego image, or in this case Jane’s ego image, is that of, among other things, a black-haired young woman, and that of a woman writer who smokes.

[...] The idea of the spare, poor young artist or writer, living romantically in a garret or poor apartment, has served as a handy self-image for many in their early years, providing a sense of dignity that enabled such apprentices to make their way. [...] You purposely chose a time involved in which writers and artists had it “hard”—so you cannot turn around then and blame the society. [...]

[...] It is one thing, for example, for a physical writer to produce a manuscript—and even that kind of creativity involves vast and hidden psychological maneuvers that never appear in the manuscript itself.

[...] Recently we received an excellent, rather lengthy paper about our work in which the writer, a psychologist, discussed among other things the import of Seth’s material, as well as various explanations of his origin. [...]

[...] He wants to know where he stands, and he wants to fit a neat category, so that he can say to the world: “If you are a shoemaker, I am something as definite; or if you are a professor, I am a writer or an artist, or a —?” He wants his contemplation to pay off, and he is very anxious about where his money goes.

[...] Even without the psychic endeavor, you both would have been bothered if, say, Ruburt succeeded as a writer of his own books, with no help from you of any kind, unless you succeeded as an artist. [...]

[...] He did not realize that the people he knew — Nelson Hayes, for example, and Mauzet—were not basically artists, in this case writers. [...]

[...] He equated, again, the writer or poet as highly gifted but emotionally not stable, so that he thought he had to set himself against his own nature in order to produce.

[...] Dick’s very open attitude has already helped Ruburt immensely—another writer, you see; the blending of the writer and psychic, highly important to Ruburt. [...]

Sometimes the artist in me visually comes to the aid of the writer by laying out pages of material and notes side by side upon a table or two. [...] This method also helps greatly in counteracting that initial impatience the artist part of me strongly feels when my writer self comes upon a complex situation.

[...] Not so the writer, who while reading must pass up the artist’s simultaneous perception for his own linear cognition as he makes a multitude of decisions involving sentence structure, what to use or eliminate, and so forth.

[...] You do not approve of yourself because you think you should be a better artist, or a better writer—but in any case, you do not let yourself appreciate the self that you are. [...]

These beliefs are centered around artists, writers, poets, musicians, actors and actresses, or others who seem unusually gifted in the arts or in various other methods of self-expression. [...]

The fact of this book is proof that the ego does not have the whole kettle of personality to itself, for there is no doubt that it is being produced by some other personality than that of the writer known as Jane Roberts. [...]

[...] That idea alone instantly mobilizes, say, Ruburt’s abilities, and the same applies to any writer. [...] The same applies to an artist, so for simplicity’s sake we will start with a single creative event—the idea the writer or artist has already geared himself, through training and practice, through intent and expectation, to receive to begin with. [...]